Without any equipment but his own muscle and expertise, a Dogon man climbs hundreds of metersabove the ground. Ireli villagers use ropes made of baobab bark to climb the Bandiagara cliffs in search of pigeon guano and Tellem artifacts. The pigeon guano is used as fertilizer and can be sold at the market for $4 per sack. The Tellem artifacts, such as brass statues and wooden headrests, bring high prices from Western art collectors

The precise origin of the Dogon, like those of many other ancient cultures, is undetermined. Their civilization emerged, in much the same manner as ancient Sumer, both sharing tales of their creation by gods who came from the sky in space ships, who allegedly will return one day.

The early histories are informed by oral traditions that differ according to the Dogon clan being consulted and archaeological excavation much more of which needs to be conducted.

Because of these inexact and incomplete sources, there are a number of different versions of the Dogon's origin myths as well as differing accounts of how they got from their ancestral homelands to the Bandiagara region. The people call themselves 'Dogon' or 'Dogom', but in the older literature they are most often called 'Habe', a Fulbe word meaning 'stranger' or 'pagan'.

Around 1490 AD, fleeing invaders and/or drought, they migrated to the Bandiagara cliffs of central Mali. Carbon-14 dating techniques used on excavated remains found in the cliffs indicate that there were inhabitants in the region before the arrival of the Dogon. They were the Toloy culture of the 3rd to 2nd centuries BC, and the Tellem culture of the 11th to 15th centuries AD.

The religious beliefs of the Dogon are enormously complex and knowledge of them varies greatly within Dogon society. Dogon religion is defined primarily through the worship of the ancestors and the spirits whom they encountered as they slowly migrated from their obscure ancestral homelands to the Bandiagara cliffs. They were called the 'Nommo' - [see below and on the file Amphibious Gods.]

There are three principal cults among the Dogon; the Awa, Lebe and Binu.

The Awa is a cult of the dead, whose purpose is to reorder the spiritual forces disturbed by the death of Nommo, a mythological ancestor of great importance to the Dogon.

Members of the Awa cult dance with ornate carved and painted masks during both funeral and death anniversary ceremonies. There are 78 different types of ritual masks among the Dogon and their iconographic messages go beyond the aesthetic, into the realm of religion and philosophy.

The primary purpose of Awa dance ceremonies is to lead souls of the deceased to their final resting place in the family altars and to consecrate their passage to the ranks of the ancestors.

The cult of Lebe, the Earth God, is primarily concerned with the agricultural cycle and its chief priest is called a Hogon.

All Dogon villages have a Lebe shrine whose altars have bits of earth incorporated into them to encourage the continued fertility of the land.

According to Dogon beliefs, the god Lebe visits the hogons every night in the form of a serpent and licks their skins in order to purify them and infuse them with life force. The hogons are responsible for guarding the purity of the soil and therefore officiate at many agricultural ceremonies. [Serpent is a metaphor for DNA]

In the village of Sangha, onion bulbs are smashed and shaped into balls that are dried in the sun. The onion balls are trucked as far away as the Ivory Coast to be sold as an ingredient for sauces. Introduced by the French in the 1930s, onions are one of the Dogon's only cash crop.

Millet Harvest - Dogon women pound millet in the village of Kani Kombal. Millet is of vital importance to the Dogon. They sow millet in June and July, after the rains begin. The millet is harvested in October.

Nowadays, the Dogon blacksmiths forge mainly scrap metal recuperated from old railway lines or car wrecks. So, little by little, the long process of iron ore reduction, which demands a perfect knowledge of fire and its temperatures, has been abandoned.

One of the last smelting was done in Mali, in 1995, by the Dogon blacksmiths. The event became the subject of a film which was entitled 'Inagina, The Last House of Iron'. Eleven blacksmiths, who still hold the secrets of this ancestral activity, agreed to perform a last smelt. They gathered to invoke the spirits.

They sank a mine shaft, made charcoal, and built a furnace with earth and lumps of slag. The last furnace - or Inagina -meaning literally the 'house of iron' gave birth to 69 kilos of iron of excellent quality. With this, the blacksmiths forged traditional tools intended for agriculture, the making of weapons, and jewelry for the Dogon people.

Youdiou Dances - During the Dama celebration, Youdiou villagers circle around two stilt dancers. The dance and costumes imitate the tingetange, a long-legged water bird. The dancers execute difficult steps while teetering high above the crowd.

The cult of Binu is a totemic practice and it has complex associations with the Dogon's sacred places used for ancestor worship, spirit communication and agricultural sacrifices. Marcel Griaule and his colleagues came to believe that all the major Dogon sacred sites were related to episodes in the Dogon myth of the creation of the world, in particular to a deity named Nommo.

Binu shrines house spirits of mythic ancestors who lived in the legendary era before the appearance of death among mankind. Binu spirits often make themselves known to their descendants in the form of an animal that interceded on behalf of the clan during its founding or migration, thus becoming the clan's totem.

The priests of each Binu maintain the sanctuaries whose facades are often painted with graphic signs and mystic symbols. Sacrifices of blood and millet porridge the primary crop of the Dogon are made at the Binu shrines at sowing time and whenever the intercession of the immortal ancestor is desired.

Through such rituals, the Dogon believe that the benevolent force of the ancestor is transmitted to them.

Kananga masks contain geometric patterns. These masks represent the first human beings. The Dogonbelieve that the Dama dance creates a bridge intothe supernatural world. Without the Dama dance, the dead cannot cross over into peace.

Their self-defense comes from their social solidarity which is based on a complex combination of philosophic and religious dogmas, the fundamental law being the worship of ancestors. Ritual masks and corpses are used for ceremonies and are kept in caves. The Dogon are both Muslims and Animists.

A 'Togu Na' - 'House of Words' - stands in every Dogon village and marks the male social center. The low ceiling, supported by carved or sculptured posts, prevents over zealous discussions from escalating into fights. Symbolic meaning surrounds the Togu Na. On the Gondo Plain, Togu Na pillars are carved out of Kile wood and often express themes of fertility and procreation. Many of the carvings are of women's breasts, for as a Dogon proverb says, "The breast is second only to God."

Unfortunately, collectors have stolen some of the more intricately carved pillars, forcing village elders to deface their Togu Na posts by chopping off part of the sculpted wood. This mutilation of the sculpt-ed pillars assures their safety.

Amaguime Dolu, a diviner in the village of Bongo, performs a ritual. He derives meaning and makes predictions from grids and symbols in the sand. At dusk, he draws a questions in the sand for the sacred fox to answer. The Dogon people believe the fox has supernatural powers. The Dogon may ask questions such as: "Does the man I love also love me?" or "Should I take the job offer at the mission church?" In the morning, the diviner will read the fox prints on the sand and make interpretations. The fox is sure to come because offerings of millet, milk and peanuts are made to this sacred animal.

Allegedly, when the Dogon left Egypt, they brought with them sacred knowledge in the form of oral traditions, perhaps handed down by the ancient priests of Egypt.

The Dogon creational tale is laced with metaphors that are similar to other legends of creation throughout the world. One need only compare them and understand their metaphoric content, to understand the nature of our reality, past, present, and future.

According to Dogon mythology, Nommo was the first living being created by Amma, the sky god and creator of the universe.

He soon multiplied to become six pairs of twins. [This is a metaphor for one source/soul splitting into two - yin /yang, when it enters into the electromagnetic energies of third dimension. See twin flames] [Also see 12 Around 1]

One twin rebelled against the order established by Amma, thereby destabilizing the universe. [The focus in our duality has always been to restore balance, through healing, especially as many myths foretell that at the end of time there will be a judgement day.]

In order to purify the cosmos and restore its order, Amma sacrificed another of the Nommo, whose body was cut up and scattered throughout the universe. This distribution of the parts of the Nommo's body is seen as the source for the proliferation of Binu shrines throughout the Dogon region. (This is similar to the story of Isis -- Osiris -- and Horus.)

The Dogon are famous for their astronomical knowledge taught through oral tradition, dating back thousands of years, referencing the star system, Sirius. Sirius is the dog star. It is linked with the Egyptian goddess Isis. The astronomical information known by the Dogon since that time, was not discovered and verified until the 19th and 20th centuries, making one wonder how the Dogon came by this knowledge. Their oral traditions say it was given to them by the Nommo. The source of their information may date back to the time of the ancient Egyptian priests.

As the story goes ... in the late 1930s, four Dogon priests shared their most important secret tradition with two French anthropologists, Marcel Griaule and Germain Dieterlen after they had spent an apprenticeship of fifteen years living with the tribe. These were secret myths about the star Sirius, which is 8.6 light years from the Earth.

The Dogon priests said that Sirius had a companion star that was invisible to the human eye. They also stated that the star moved in a 50-year elliptical orbit around Sirius, that it was small and incredibly heavy, and that it rotated on its axis.

Initially the anthropologists wrote it off publishing the information in an obscure anthropological journal, because they didn't appreciate the astronomical importance of the information.

What they didn't know was that since 1844, astronomers had suspected that Sirius A had a companion star. This was in part determined when it was observed that the path of the star wobbled. In 1862 Alvan Clark discovered the second star making Sirius a binary star system (two stars).

In the 1920's it was determined that Sirius B, the companion of Sirius, was a white dwarf star. White dwarfs are small, dense stars that burn dimly. The pull of its gravity causes Sirius' wavy movement. Sirius B is smaller than planet Earth.

The Dogon name for Sirius B is Po Tolo. It means star - tolo and smallest seed - po. Seed refers to creation. In this case, perhaps human creation.

By this name they describe the star's smallness. It is, they say, the smallest thing there is.

They also claim that it is 'the heaviest star' and is white in color.

The Dogon thus attribute to Sirius B its three principal properties as a white dwarf: small, heavy, white.

The Dogon elder, Ogotemelli, describes Nommo as having the upper part as a man and the lower portion as snake; or as having a ram's head with serpent body. [Serpent=DNA]

Author Robert Temple describes the Nommo as amphibious beings sent to Earth from the Sirius star system for the benefit of humankind. They look like Merfolk; Mermaids and Mermen. [Metaphor: amphibious - referring to the flow of the collective unconscious - creational source].

After the landing in a space ship, something with four legs appeared and dragged the vessel to a hollow, which filled with water until the vessel floated in it. The Dogon call this spaceship 'Pelu Tolo' or 'Star of the Tenth Moon'. [4=4th dimension or 'time'. It also references closure]. [10=10101010 = computer programming for On, Off, On Off, etc. 10 also references 1 = New beginnings in Numerology.]